Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Sweden and from Shanghai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1976.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Bremen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the organ sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Robert Hood to the rap kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Vladislav Delay. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
Leonard Cohen,
Notorious Big And Bone Thugs,
Girls At Our Best!,
Bobby Sherman,
a-ha,
Barbara Tucker,
The Busters,
James Chance & The Contortions,
DNA,
Black Pus,
Kevin Saunderson,
Charles Mingus,
The Cramps,
The Monochrome Set,
The Gap Band,
Rahsaan Roland Kirk,
Cameo,
Lucky Dragons,
Kayak,
The Misunderstood,
Iggy Pop,
Tropical Tobacco,
The Blackbyrds,
Red Lorry Yellow Lorry,
Quantec,
The Zeros,
New Order,
Nation of Ulysses,
Sällskapet,
Bill Near,
Spoonie Gee,
Brick,
Reuben Wilson,
Eyeless In Gaza,
Alton Ellis,
The Beau Brummels,
Saccharine Trust,
Rakim,
John Foxx,
Art Ensemble Of Chicago,
Pharoah Sanders,
Outsiders,
Fela Kuti,
Andrew Ashong & Theo Parrish,
Lalo Schifrin,
Echo & the Bunnymen,
The Moody Blues,
The Red Krayola,
London Community Gospel Choir,
Camron Feat. Memphis Bleek And Beenie Seigel,
Al Stewart,
Delon & Dalcan,
Excepter,
Freddie Wadling,
Oppenheimer Analysis,
Don Cherry,
The Tremeloes,
Urselle,
Slave,
Echospace,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.